AQA A-LEVEL SPANISH 7692/2 Paper 2 Writing Question Paper & Mark scheme June 2022.

A-level SPANISH Paper 2 Writing Time allowed: 2 hours Materials For this paper you must have: • an AQA 16-page answer book. Instructions • You must not use a dictionary. • You must not have access to any book or film. • Use black ink or black ball-point pen. • Write the information required on the front of your answer book. The Paper Reference is 7692/2. • Answer two questions. You must not answer both questions on the same book or film. • Answer either two questions from Section A or one question from Section A and one question from Section B. • Answer both questions in Spanish. Information • The marks for each question are shown in brackets. • The maximum mark for this paper is 80. Advice • Do all rough work in the answer book. Cross through any work you do not want to be marked. • Write approximately 300 words for each question. IB/H/Jun22/E5 7692/2 Section A Books 0 1 La casa de Bernarda Alba – Federico García Lorca Either 0 1 or 0 1 0 2 . 1 Analiza el tema del miedo en la obra. ¿Qué impacto tiene en las acciones de los personajes? [40 marks] . 2 “En La casa de Bernarda Alba, Lorca explora el conflicto entre la sociedad y las necesidades de los individuos”. Analiza esta afirmación y justifica tus ideas. [40 marks] Crónica de una muerte anunciada – Gabriel García Márquez Either 0 2 or 0 2 . 1 Analiza cómo se presenta a la Iglesia en la novela. [40 marks] . 2 Analiza las normas de la sociedad que afectan al destino de los personajes en la novela. 0 3 [40 marks] Como agua para chocolate – Laura Esquivel Either 0 3 or 0 3 0 4 Analiza el uso del realismo mágico en la novela y el impacto que tiene en el lector. [40 marks] . 2 “En la novela, Gertrudis es la única de las hermanas que consigue liberarse de las expectativas de la sociedad”. ¿Hasta qué punto estás de acuerdo con esta afirmación? Justifica tus ideas. [40 marks] Réquiem por un campesino español – Ramón J. Sender Either 0 4 or 0 4 . 1 “El ambiente idílico de la primera parte del libro es muy diferente al ambiente de miedo, violencia y muerte de la segunda parte”. Analiza esta afirmación y considera por qué Sender divide el libro de esta manera. [40 marks] . 2 “La intención del autor fue criticar la desigualdad y la injusticia que existían en la España rural de los años treinta”. Analiza esta afirmación y justifica tus ideas. [40 marks] 0 5 La sombra del viento – Carlos Ruiz Zafón Either 0 5 or 0 5 0 6 Nuria dice que Julián Carax “no era un hombre, era una enfermedad”. Analiza esta afirmación y considera las emociones que Julián inspira en las personas que le conocen. [40 marks] . 2 “En la novela, Barcelona se presenta como una ciudad donde existen el peligro y la violencia, pero no siempre están visibles a los ojos de todos”. Analiza esta afirmación y justifica tus ideas. [40 marks] La casa de los espíritus – Isabel Allende Either 0 6 or 0 6 . 1 “Muchos personajes de la novela se rebelan contra algo”. ¿Hasta qué punto estás de acuerdo con esta afirmación? Justifica tus ideas. [40 marks] . 2 Analiza la importancia que el pasado y la familia tienen en la vida de Alba. 0 7 [40 marks] Rimas – Gustavo Adolfo Bécquer Either 0 7 or 0 7 0 8 “Según Bécquer, la poesía existe sin el poeta; está en el mundo natural, en cosas inexplicables y en el ser humano”. Analiza esta afirmación y justifica tus ideas. [40 marks] . 2 “Según sus Rimas, Bécquer está destinado a sufrir por amor y por la dificultad de su trabajo como poeta”. Analiza esta afirmación y justifica tus ideas. [40 marks] SAMPLE MARKSCHEME A-level SPANISH 7692/2 Paper 2 Writing Mark scheme June 2022 Version: 1.0 Final *226A7692/2/MS* Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from Copyright information AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre. Copyright © 2022 AQA and its licensors. All rights reserved. Level of response marking instructions Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level. There are marks in each level. Before you apply the mark scheme to a student’s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content. Step 2 Determine a mark Once you have assigned a level you need to decide on the mark. The descriptors on how to allocate marks can help with this. The exemplar materials used during standardisation will help. There will be an answer in the standardising materials which will correspond with each level of the mark scheme. This answer will have been awarded a mark by the Lead Examiner. You can compare the student’s answer with the example to determine if it is the same standard, better or worse than the example. You can then use this to allocate a mark for the answer based on the Lead Examiner’s mark on the example. You may well need to read back through the answer as you apply the mark scheme to clarify points and assure yourself that the level and the mark are appropriate. Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the Indicative content to reach the highest level of the mark scheme. An answer which contains nothing of relevance to the question must be awarded no marks. Assessment criteria Each assessment objective should be assessed independently. Students are advised to write approximately 300 words per essay. Everything that students write must be assessed; there is no word limit. Students writing the recommended length have access to the full range of marks. AO3 17–20 The language produced is mainly accurate with only occasional minor errors. The student shows a consistently secure grasp of grammar and is able to manipulate complex language accurately. The student uses a wide range of vocabulary appropriate to the context and the task. 13–16 The language produced is generally accurate, but there are some minor errors. The student shows a generally good grasp of grammar and is often able to manipulate complex language accurately. The student uses a good range of vocabulary appropriate to the context and the task. 9–12 The language produced is reasonably accurate, but there are a few serious errors. The student shows a reasonable grasp of grammar and is sometimes able to manipulate complex language accurately. The student uses a reasonable range of vocabulary appropriate to the context and the task. 5–8 The language produced contains many errors. The student shows some grasp of grammar and is occasionally able to manipulate complex language accurately. The student uses a limited range of vocabulary appropriate to the context and the task. 1–4 The language produced contains many errors of a basic nature. The student shows little grasp of grammar and is rarely able to manipulate complex language accurately. The student uses a very limited range of vocabulary appropriate to the context and the task. 0 The student produces nothing worthy of credit. Minor errors are defined as those which do not affect communication. Serious errors are defined as those which adversely affect communication. Minor errors include: incorrect spelling, unless the meaning is changed accents, unless the meaning is changed confusion of noun/adjective eg peligro/peligros occasional slips in gender/adjectival agreements. Serious errors include: incorrect verb forms incorrect use of pronouns errors in basic idiomatic expressions eg es muy calor; soy 17. Complex language includes: subordinate clauses − relative − conditional − purpose etc appropriate use of subjunctive formation of regular and irregular verbs reflexive verbs use of impersonal expressions using reflexive verbs or verbs with indirect object pronoun eg gustar, faltar, interesar etc value judgements verb + infinitive (+ preposition) expressions. The above examples are neither prescriptive nor exhaustive. AO4 17–20 Excellent critical and analytical response to the question set Knowledge of the text or film is consistently accurate and detailed. Opinions, views and conclusions are consistently supported by relevant and appropriate evidence from the text or film. The essay demonstrates excellent evaluation of the issues, themes and the cultural and social contexts of the text or film studied. 13–16 Good critical and analytical response to the question set Knowledge of the text or film is usually accurate and detailed. Opinions, views and conclusions are usually supported by relevant and appropriate evidence from the text or film. The essay demonstrates good evaluation of the issues, themes and the cultural and social contexts of the text or film studied. 9–12 Reasonable critical and analytical response to the question set Knowledge of the text or film is sometimes accurate and detailed. Opinions, views and conclusions are sometimes supported by relevant and appropriate evidence from the text or film. The essay demonstrates reasonable evaluation of the issues, themes and the cultural and social contexts of the text or film studied. 5– 8 Limited critical and analytical response to the question set Some knowledge of the text or film is demonstrated. Opinions, views and conclusions are occasionally supported by relevant and appropriate evidence from the text or film. The essay demonstrates limited evaluation of the issues, themes and the cultural and social contexts of the text or film studied. 1–4 Very limited critical and analytical response to the question set A little knowledge of the text or film is demonstrated. Opinions, views and conclusions are rarely supported by relevant and appropriate evidence from the text or film. The essay demonstrates very limited evaluation of the issues, themes and the cultural and social contexts of the text or film studied. 0 The student produces nothing worthy of credit in response to the question. Annotations for essay marking: Tick = content point considered in award of AO4 mark REP = repetition ? = unclear IRRL = irrelevant SEEN = examiner has seen the page (where no other annotations appear) 0 1 La casa de Bernarda Alba – Federico García Lorca Either 0 1 or 0 1 . 1 Analiza el tema del miedo en la obra. ¿Qué impacto tiene en las acciones de los personajes? [40 marks] Possible content • The society represented in the play is a society ruled by fear. Most characters fear something, and this fear determines their behaviour. • Although Bernarda likes to present herself as fearless, her whole life is ruled by fear. She is afraid that society will judge her, and that her daughters will not live up to the standards she expects of them. • It is this fear of society’s judgement that pushes her to behave in the way she does. It makes her try to control all her daughters’ actions and it prevents her from being able to show any degree of sympathy towards them. • Adela’s fears are very different from her mother’s. She is afraid of not being able to experience passion and to live her life to the full. • This fear provokes her behaviour towards Pepe: although she knows that he should be ‘off-limits’, she still presents herself to him almost naked at the window, in order to attract him. • At the beginning of the play, her fear of Bernarda affects Adela’s behaviour but, as the play progresses, her fear of being trapped becomes more powerful. • Poncia is another character who is afraid of gossip. She does not want to work in a house where there is scandal. • This fear of gossip pushes her to try and solve the situation within the house. She tries, without success, to make Adela give up Pepe, or at least to wait until Angustias dies. • Although Poncia has been working for the family for 30 years, it is not affection that makes her try to console Adela, it is fear of scandal. • There is one character who does not seem afraid of anything: Pepe el Romano. He is prepared to marry Angustias for her money, even though he does not love her. He also has a relationship with Adela. • Pepe is not presented as someone scared of the consequences that his actions will have. In this sense, he is quite a ruthless character. As a man, he will be able to continue with his role in society even if he is found out, but he knows what the consequences for Adela will be. . 2 “En La casa de Bernarda Alba, Lorca explora el conflicto entre la sociedad y las necesidades de los individuos”. Analiza esta afirmación y justifica tus ideas. [40 marks] Possible content • Society in the play is always in conflict with what individuals need. • Adela is presented as a young woman who needs to escape the constraints of her life. However, when her father dies, she is obliged to go into mourning, which will make it impossible for her to pursue her desires. The needs of women are not important in this society. The only role they are allowed to play is that of wives and mothers (or as prostitutes, and therefore outside society). When a woman does not fulfil either of these roles, she enters into conflict with society. • It could be argued that it is only women who are in conflict with society because of their needs. Society is happy for men to fulfil their needs, and behaviour that is forbidden for women is in fact condoned for men. • Lorca presents a society in which men can fulfil their sexual needs with prostitutes, a behaviour condoned and even expected by society. This satisfaction of sexual needs is not open to female members of society. • However, there are also elements of conflict between society and the needs of men. Men have very specific roles that society expects them to play and they are not allowed to deviate from these roles. • Pepe el Romano is expected to marry someone of a certain economic and social status. His own inclination would be to marry someone like Adela, but she would not bring to his family the dowry that Angustias has. • Bernarda is presented as another character in conflict with society. Both her behaviour and her treatment of her daughters are determined by what she perceives society will think of them if they fail to comply with social norms. • In Bernarda’s case, her needs are completely irrelevant: society does not care about her needs as an individual. • The society depicted in the play is one in which there is strict adherence to social levels. The poor are treated badly by those of a higher social standing (even servants), and their needs are not taken into consideration at all. • The separation between social levels is also evident in Bernarda’s treatment of Enrique Humanes. He is not permitted to marry Martirio and fulfil her need to become a wife and mother, because he is perceived to belong to a lower social level. • The society that we see in the play is ruthless and shows no compassion for individuals’ needs. 0 2 Crónica de una muerte anunciada – Gabriel García Márquez Either 0 2 . 1 Analiza cómo se presenta a la Iglesia en la novela. [40 marks] Possible content • The society represented in the novel is one in which the Church holds a lot of power and authority over society, although this power is not always used in the most appropriate way. • The reason why Santiago gets up early after the wedding and dresses up is because the bishop is coming to the village, and he wants to see him. • Santiago is described in the book as being mesmerised by the pomp and mystery of religion. Although he does not truly have any faith, the bishop holds an undeniable attraction for him. • The same could be said of the villagers: although they know that the bishop will not make any effort for them, they still get ready and give presents to him for his visit. This shows that the Church has enough power over them to persuade them to provide presents and homage, without any real expectation to get anything back. The priest in the novel is a completely ineffective character who could have prevented the murder, but he is too wrapped up in his preparations for the bishop’s visit to do anything about it. • Clotilde Armenta tells everyone in authority about the twins’ intentions in order to try to prevent the murder. The fact that she tells the priest shows that she believes he has the authority to stop the murder. • When Santiago dies, Father Amador is given the job of performing the autopsy on Santiago. This is, once again, a job that he will perform very badly. His status as a priest counts more than his scarce knowledge of anatomy learned in just one term in medical school. • After the twins commit the murder, they run to the church for protection. In this society the church building still represents a place where someone who is being persecuted will find a refuge. • The defence that the twins use when they talk to the priest is that “ante Dios y ante los hombres” they are innocent. The twins see God’s law as above man’s law, and their final acquittal confirms their belief. • Father Amador appears unconcerned about the physical well-being of the villagers. He states that all he can do for Santiago is pray for his soul, when in fact, he could have prevented the death. • Every aspect of religion is presented in a negative light in the novel. Religion has a strong hold on most members of the community. Both the bishop and the priest have authority in society, but they only use their authority to their own advantage, and not for the good of the community. or 0 2 . 2 Analiza las normas de la sociedad que afectan al destino de los personajes en la novela. [40 marks] Possible content • The society depicted in the novel has power over many aspects of the characters’ lives, and it affects what they are able to do. • The society depicted is one in which the defence of one’s family’s honour is the most important aspect. • When the twins learn that their sister has lost her virginity, they know that society expects them to kill the culprit. • The twins do not feel that they have the option to choose otherwise: once their sister has named the guilty person involved, they need to kill him. Santiago’s destiny has been sealed because of the expectations of this society. • Another aspect in which society determines the character’s destiny is in marriage. • Men are expected to make a marriage worthy of their level in society. For example, Santiago is going to marry Flora Miguel, even if there is no affection between them. He is expected to marry someone of the appropriate rank who will further his status in this society. • However, women’s destiny is to marry whoever their family deems appropriate for them, without any reference to love. Women are “criadas para sufrir” and they know their destiny does not include happiness in marriage. Economic status will determine the individual’s destiny in this society. Women of a lower status who do not have a man to protect them are destined to be abused and attacked. • Divina Flor is described in the novel as destined for Santiago Nasar’s bed. Because of her lack of economic status, she does not have any say in this. Her destiny is sealed before she is even born, due to the destiny of her mother with Santiago’s father. • The twins’ final destiny is determined by society’s belief that their crime was justified. • In the trial notes retrieved, it is clear that no evidence was found at any point of Santiago’s guilt. A series of coincidences and decisions by different people lead to the death of an innocent man. • However, the twins are eventually released. The investigating magistrate upheld the idea of a murder committed in legitimate defence of honour and, therefore, society’s belief that the twins’ behaviour was justified determines their final release. 0 3 Como agua para chocolate – Laura Esquivel Either 0 3 . 1 Analiza el uso del realismo mágico en la novela y el impacto que tiene en el lector. [40 marks] Possible content • The first example of magical realism comes in the opening pages of the novel, when Tita is heard crying in the womb and is born on a river of tears. • This establishes from the outset that the reader must accept elements of fantasy alongside reality and prepares us for what is to follow. • One of the main sources of magical realism is the impact that Tita’s cooking has on others, as they experience the same emotions that she did when preparing the dishes. • This emphasises the atmosphere of repression in the ranch, where Tita is forbidden to express her feelings. As a result, her emotions find another outlet and pass into the food. • The technique also reveals aspects of the other characters in the novel. We learn a lot about Tita’s sisters and mother in the way they respond to the passion in the dish of quails. • Because of the atmosphere of fantasy and reality, we are not surprised to encounter the spirits of those who have died, and these ghosts teach us about the two cultures in Mexican society. • The spirits of Nacha and Luz del Amanecer are benign and generous, showing the kindness and wisdom of the indigenous Indian women. • In death, Mamá Elena continues to torment and belittle Tita. She represents the stifling and oppressive nature of the Hispanic traditions. • When Rosaura cannot feed her baby, Roberto, Tita finds that, miraculously, she is producing milk and can breastfeed the infant. • Esquivel uses this occurrence to highlight the suitability of Tita as a mother and her ability to love and nurture the child. It is significant that neither Rosaura nor Mamá Elena breastfeed their children. Some episodes of magical realism provide humour, such as the collective vomiting attack on Rosaura’s wedding day, or the dog El Pulque stepping in the spittoon in terror at seeing the ghost of Mamá Elena. Other episodes are used to enhance and ennoble certain events. When Pedro and Tita make love for the first time, a glow and sparks of light are seen over the roof. • Their final act of love creates sparks and fireworks that set light to the ranch and burn it down. The technique of magical realism here highlights the power and sublime nature of their love. or 0 3 . 2 “En la novela, Gertrudis es la única de las hermanas que consigue liberarse de las expectativas de la sociedad”. ¿Hasta qué punto estás de acuerdo con esta afirmación? Justifica tus ideas. [40 marks] Possible content • Gertrudis is a lively and spirited child but it is when she tastes the quail dish, prepared by Tita with love for Pedro, that she is driven wild with an unquenchable desire. • The way that she abandons herself to Juan Alejándrez, and soon exhausts him, demonstrates the power of the love that Tita was communicating to Pedro. • It also highlights the difference between Gertrudis and Tita. Gertrudis acts spontaneously on her desires but Tita is torn between love and duty. • After this point, Gertrudis’ trajectory is very mixed. She works in a brothel until she has fulfilled the desire that drove her and, clearly, has relinquished any claim to respectability. • In an attempt to protect her own position in society, Mamá Elena disowns Gertrudis and destroys her birth certificate, quick to disassociate herself from her errant daughter. • However, Gertrudis can now make her own decisions and chooses to leave the brothel to join the Revolutionary army, where she works her way up to the rank of General. • Gertrudis becomes a skilled and much respected General, comfortable in a position of command and inspiring loyalty in her soldiers. • She is following a path of her own making, a long way from the role expected of a daughter of a land-owning family, and she seems unperturbed by her unorthodox lifestyle. • It is interesting to note, however, that she returns to a more traditional role in later years as she marries Juan Alejándrez and bears him a son. • Gertrudis seems content with the various stages of her life and, if she has returned to a more respectable and traditional role, it is because she has chosen to do so. • However, it can also be said that Tita undertakes a slow rebellion against society’s expectations, questioning her mother’s dictates and becoming more open about her relationship with Pedro. • When she and Pedro finally make love openly, they are declaring their indifference to society’s views and their determination to live as they choose. • Students may mention how Rosaura seeks to abide by and perpetuate society’s expectations; her aim in life seems to be respectability and society’s good opinion. 0 4 Réquiem por un campesino español – Ramón J. Sender Either 0 4 or 0 4 . 1 “El ambiente idílico de la primera parte del libro es muy diferente al ambiente de miedo, violencia y muerte de la segunda parte”. Analiza esta afirmación y considera por qué Sender divide el libro de esta manera. [40 marks] Possible content • The first half of the novel depicts a wholesome and simple way of life, where the villagers work, enjoy family events and are contented with their lot. • The young are happy to follow the traditions of their elders (Paco wishes to follow in his father’s footsteps) and customs, like the rondallas, continue unchanged through the years. • Sender focuses on the positive elements of their life, such as the community spirit and the joyous celebrations of weddings and christenings. He does not dwell on their toil or poverty. • Everything changes when Paco returns from his honeymoon and the elections are won by villagers opposed to the Duke and the land laws. • Until this point, the village seems to have been cut off from and oblivious to the political changes in the country, but now the news from Madrid begins to shake up the stoic acceptance of the villagers and gives them reason to act. • From this moment onwards, the tone and mood of the novel changes; no longer one of unchanging calm, there are threats, confrontations, ultimatums and warnings. • The mood of the country gives the villagers the confidence to challenge the old ways and to openly defy the Duke’s orders. • However, even when the villagers seem to be in the ascendant, there is tension and the dark warnings of the zapatero add to the sense of impending doom. • Violence soon becomes the order of the day as the zapatero is killed and more and more bodies appear by the roadside. Paco goes into hiding and the mysterious señoritos create an atmosphere of fear and confusion. • Sender divides the novel this way in order to emphasise his condemnation of the dark forces that erupt into the village, destroying a peaceful and blameless way of life. • He portrays country life in a deliberately idyllic way to show the innocence of the victims, which in turn serves to stress the callous brutality of the regime that takes over. • Furthermore, the division in the novel reflects the coming of age of Paco. The rural idyll is the view of the ingenuous child which changes as he matures and is forced to see the world as it really is. . 2 “La intención del autor fue criticar la desigualdad y la injusticia que existían en la España rural de los años treinta”. Analiza esta afirmación y justifica tus ideas. [40 marks] Possible content A key point in the novel occurs when Paco is confronted with the stark reality of poverty during his visit to the dying man in the caves. He is shocked by the appalling living conditions he sees there and the event alters his outlook on life; he makes it his mission to improve the lot of the poor. • Sender emphasises the inequality in society by contrasting life in the caves with the wealth of men like Don Valeriano and Don Gumersindo who pay for church restoration in order to gain the approval of their priest and God. • It is clear that Sender’s aim is to flag up the injustice of these inequalities: Paco makes the point that the dying man is not to blame for having a son in prison and Paco’s father murmurs that it was not the son’s fault either. • Sender makes much of the injustice inherent in the attitudes of Mosén Millán and the rich men towards Paco and his fellow villagers. • The priest and the wealthy are utterly convinced of their own moral and intellectual superiority and are shocked when the villagers ‘forget their place’. • Mosén Millán insists that the peasants should show more respect to their ‘betters’ and Don Valeriano is astonished that a peasant like Paco has such ideas above his station. • The difference between the classes is so great that the lower classes are regarded as little better than animals. • The Duke orders that any animal or person trespassing on his lands will be shot and Paco notes that some people in the villages live worse than animals. • Even the priest points out the similarity when he remarks that children and animals give love to those that love them back. • The system of land ownership is unfair and outdated, similar to a medieval feudal system, and the villagers continue to pay tithes to the Church, in the form of wheat and wool, or gifts to the priest during a romería. • Huge injustice is also seen in the disproportionate severity of the reprisals by the señoritos: the seizing of land by a handful of peasants is met with indiscriminate killings and mass shootings. 0 5 La sombra del viento – Carlos Ruiz Zafón Either 0 5 . 1 Nuria dice que Julián Carax “no era un hombre, era una enfermedad”. Analiza esta afirmación y considera las emociones que Julián inspira en las personas que le conocen. [40 marks] Possible content • When Nuria says this, she is referring to the love she feels for Julián, that has grown despite her better judgement; she knows he cannot return her love but she is unable to walk away. • For Nuria, Julián has become a disease or addiction that she cannot conquer and she accepts a one-sided relationship as long as she can be with him. • Julián Carax is a man who inspires profound emotions in others; for some it is love, for others it is hatred, but no one responds to him with indifference. • As well as Nuria, he inspires love in Penélope and she gives herself to him whole-heartedly, in defiance of the wishes of her family. • Even after she is imprisoned in the house by her father, knowing she has lost Julián forever, she pours out her love for him in a letter he will never receive. • Miquel Moliner is convinced he will die young and seems to invest in Julián so that he can live the life that he, Miquel, cannot. Miquel becomes devoted to Julián, saving him from Fumero’s bullet, paying for his escape to Paris and vowing that, upon his death, Julián will have everything that belongs to Miquel. • Ultimately, he gives his own life for Julián, assuming Carax’s identity when Fumero’s henchmen come after Julián. • Daniel himself develops a total fascination for the man and the author, and his life revolves around the search for who Carax is and what has happened to him. • The brothel owner, Irene Marceau, is moved by him and out of sheer compassion she takes him off the streets to give him a home, employment and a caring friendship. • At the other end of the spectrum, he inspires a deep and abiding hatred in Fumero, who cannot forgive him for being the object of Penélope’s affections. • Fumero also associates Julián with the humiliation of the party where he is mocked for his sailor suit and where he sees Julián and Penélope kissing. He devotes his life to pursuing Carax to exact his revenge. • The Aldaya men also grow to loathe Julián; Ricardo because he feels betrayed by the young man he has favoured and through the horror he feels at Julián’s relationship with his half-sister. Jorge goes from close friendship to bitter hatred. or 0 5 . 2 “En la novela, Barcelona se presenta como una ciudad donde existen el peligro y la violencia, pero no siempre están visibles a los ojos de todos”. Analiza esta afirmación y justifica tus ideas. [40 marks] Possible content • Much of the violence centres around Fumero, whether as a hired gunman or later as a police officer. • Many of his acts of violence are hidden in some way: his mother’s death is reputedly a ‘hunting accident’, the attack on Don Federico is by the thugs in his cell (but Fumero has put him there knowing what will happen) and Nuria’s stabbing is blamed on a tramp. • The author demonstrates the violence that goes on behind closed doors through various characters and gives us a glimpse of the brutality endured by many women. • Ricardo Aldaya beats his daughter and denies her access to a doctor; her child is then stillborn and Penélope dies in childbirth. He has the money to bribe people not to divulge the events. • He beats, cuts and burns Sophie during their three-month affair but she lies to her husband about her injuries so Aldaya goes unchallenged. • Aldaya also plans to get Julián recruited into the army in order to meet with a fatal ‘accident’, once again disguising his involvement. • The women are accustomed to suffering abuse and learn to hide their cuts and bruises for fear of further abuse; Sophie endures more violence from her own husband. • Violence is shown as a common occurrence in marriages: Antoni Fortuny thinks nothing of hitting Sophie, just as his father hit his mother on numerous occasions. • Señor Aguilar threatens Daniel with violence over the phone and beats his daughter when he learns of her pregnancy, again behind closed doors. • Acts of violence due to the civil war are very much present in the novel and although some are hidden, like the people taken to Montjuïc and never seen again, much is very visible and terrifying. Miquel’s editor is shot dead and his body left on the pavement, there are riots and street fighting, a dead horse is found on the street and prisoners are shot by mass firing squads. • The author notes that even more blood is shed after the war is finished, but secretly and stealthily, once again reminding us that there is violence, but that it is often not seen by all. 0 6 La casa de los espíritus – Isabel Allende Either 0 6 . 1 “Muchos personajes de la novela se rebelan contra algo”. ¿Hasta qué punto estás de acuerdo con esta afirmación? Justifica tus ideas. [40 marks] Possible content • La casa de los espíritus is a novel where many of the characters have to rebel against a variety of things and people. • Esteban Trueba has been born into a poor family, and he must rebel against his destiny in order to become a landowner and respected politician. • In order to rebel against his destiny, Esteban is forced to exile himself to work in a mine that nobody thought would ever yield any fruit. • It could be argued that Blanca spends her whole life pretending to rebel against her position in life, but that she does not in fact rebel in any real way. • From an early age, Blanca is in love with Pedro Tercero, someone she knows her family, particularly her father, will never accept. • When Blanca is found out to be pregnant, instead of running away with Pedro, she accepts the conventional arranged marriage with Jean. She does not rebel against the expectation that women must be married to have children. • After the socialist government rises to power, she has every opportunity to defy her father and marry Pedro, but she does not. She has no wish to leave behind her privileges and life, and she chooses to stay in her expected place. • It is only when Pedro’s life is in mortal danger that Blanca finally agrees to go to Canada with him. By then, however, it is not a real rebellion, since it is in fact her father who arranges it. • Esteban García is another character who cannot accept his destiny in life; he wants to rebel against it. • He feels very strongly that he should be openly accepted as Esteban’s grandson, and he cannot accept that he will never be acknowledged as such. • His rebellion against Esteban is directed towards what Esteban values the most: his granddaughter Alba. • Against the odds, Esteban manages to rise through the ranks of the military police and uses his position to abuse Alba. His way of rebelling against his destiny as a poor peasant in Las Tres Marías is to hurt the recognised heir to the estate. or 0 6 . 2 Analiza la importancia que el pasado y la familia tienen en la vida de Alba. [40 marks] Possible content • Alba is a product of what came before her, and many of her actions and destiny are determined by both her family and the past. • Alba’s mother, Blanca, has an illicit relationship with Alba’s father, Pedro, throughout Alba’s life. Although she does not realise until much later that Pedro is her father, this relationship has an effect on Alba’s own relationships. • Alba in turn falls in love with another revolutionary, Miguel. Just like her mother, she does not expect this relationship to become official or to lead to marriage, but it is the most meaningful romantic relationship of her life, as Pedro's was for Blanca. • Both Clara and Blanca determine Alba’s attitude towards social justice. Clara took care of the peasants in Las Tres Marías behind Esteban’s back and Alba helps people escape using the corner house, unbeknown to Esteban. • At the beginning of the novel, the reader does not know that the person talking is Alba, using her grandmother's diaries to tell the story of the Trueba family. • At the end of the novel, when Alba is being tortured by Esteban García, we learn that it was her grandmother who suggested to her the idea of writing the family history, as a way to avoid losing her mind in prison. • Alba does not actually have pen and paper to start writing the story, but she starts writing in her imagination. It is the influence of Clara that prevents Alba from going mad. • When she leaves prison, Clara’s diaries and the family chronicle help Alba and Esteban to form an even closer link. They start going over the past and realising the effect that it has on the present and the future. • The past actions of Alba’s grandfather will be one of the biggest influences on Alba’s life. • Because of his treatment of Pancha García, and his refusal to recognise Esteban García as his son, he will set in motion a series of events that will end up with Alba’s torture in prison at the hands of Esteban’s grandson. • Esteban also has a very positive influence on Alba: they have a very deep love for each other, and he becomes the only constant in Alba’s life. • Just like all the women in her family before her, Alba’s is a story of hope. Despite all the tribulations, at the end of the novel the main force driving her is her love for her unborn daughter.